![]() ![]() Stillborn (Black Label Society, The Blessed Hellride, 2003) It was just so simple – three notes – and I was like, 'Man, that came out pretty cool…' Having a limited amount of things forces you to have to come up with something great.” 8. So with the Bored to Tears riff, I remember us listening to it and just cranking it. So you use your imagination to come up with different combinations. Because if I gave you white and red, if you blended them together, now you also have pink. Or, let’s give you two colors and see what you can paint. It’s like, if I gave you minimal ingredients to make us a meal, you’d still want to come up with something great. ![]() Because, you know, if it was easy, everyone would do it. Just the simplicity of amazingly awesome, great riffs. “We were talking about simple riffs, whether it was Smoke on the Water, Iron Man, Aqualung, anything like that. “So I did Spoke in the Wheel, but then when me and Phil got together, when we were in the studio and we tracked Bored to Tears, I was just thinking about simplicity. Spoke in the Wheel – (Black Label Society, Sonic Brew, 1998) Really great playing, really great tones, the production is great. I mean, Dave Hlubek, his playing on those records is ridiculous. I mean, Molly Hatchet, I still listen to that stuff. “Again, it’s my love for the Allmans and Skynyrd and the Marshall Tucker Band and Blackfoot, that whole movement. And with how crushing Brian ’s drums sounded and James ’s bass playing was, I was really happy overall. But with the banjo on there and all the country bends, it just came out really slamming. And I just needed it for that specific part. “Playing in banjo tuning is great as well, but you have to work at it. So I got one of those banjos that you tune like a guitar, and I played it so that the fingering was pretty much the same as it would be on a guitar. With the banjo thing in there, I had to figure out how to tune it. And Losin’ Your Mind was one I thought came out really great. ![]()
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